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“TIME” — Sarah Jessica Parker is perhaps taking a cue from her Sex and the City alter ego and heading to the United Arab Emirates with her shoe line.

But while Carrie Bradshaw visited Abu Dhabi in the franchise’s second film (which was panned by critics), Parker is preparing to launch her SJP Collection in Dubai, marking the line’s debut in the international market. The collection will be available from Dec. 3 and Parker will be making appearances at Harvey Nichols on Dec. 7 and Bloomingdale’s on Dec. 9 to promote the line.

Parker created the shoe collection with the CEO of Manolo Blahnik, George Malkemus. The shoes, which are already available to buy in the US, are identifiable by the signature strip of grosgrain ribbon on the back of every heel.

ABC News chose Sarah Jessica Parker as their ‘Person of the Week’ this week, which is incredibly exciting! She discusses her humble beginnings and the importance of keeping the arts alive for kids. You can check out the short interview below. Enjoy!

AMBI Distribution, which is producing the film and selling it worldwide, has closed deals across much of the world, including with StudioCanal for Australia/New Zealand, ZDF for Germany, Corbi Media for Spain, California Filmes for Latin America and SPI for Eastern Europe.

All Roads Lead to Rome centers on uptight Maggie (Parker) and her former Italian lover, Luca (Raoul Bova), who go on an exciting road trip across Italy pursuing Maggie’s rebellious teenage daughter (Rosie Day). Claudia Cardinale co-stars as Luca’s mother.

See more Sarah Jessica Parker’s 10 Greatest Oscar de la Renta Hits

Ella Lemhagen (The Crown Jewels) is directing All Roads Lead to Rome and co-wrote the screenplay with Cindy Myers and Josh Appignanesi.

The film is currently shooting in Italy.

AMBI Pictures principals Andrea Iervolino and Monika Bacardi and Paradox Studio’s Mikael Wiren are financing the picture. Iervolino and Bacardi are producing with Silvio Muraglia of Paradox Studios. Wiren is executive producing with Frank Konigsberg and David Wyler.

“Refinery 29″ — Her Carrie Bradshaw days are far behind her, but Sarah Jessica Parker’s shoe game has certainly not faltered. Unsurprisingly, Parker’s debut footwear collection for Nordstrom last February was a huge success — the styles were elegant, timeless, and as tall as one would expect from the stiletto queen herself. Now, Parker is spreading the shoe love to Neiman Marcus, where you can pre-order popular styles like the Phoebe, the Fawn, and — of course — the Carrie.

As we know, Parker does not mess when it comes to shoes. She gave her Vogue house guest major side eye when he dared ask “Heels or flats?” However, SJP does accommodate those who wish to stay closer to the ground: There’s a suede ballerina flat named Audrey calling your name. Still, the majority of the collection props you up with skinny stiletto heels and delicate ankle straps, much like the shoes Bradshaw once fawned over while window-shopping on the Upper East Side.

This Neiman Marcus launch also marks Parker’s first expansion into home: The collection includes a special-edition candle with “notes of black amber, wild fig, and ginger,” according to the site. So, you can walk like a Bradshaw, and have your living room smell like Parker’s NYC brownstone, all in one checkout order. For the Carrie on your holiday shopping list, see some of the SJP by Sarah Jessica Parker styles, ahead.

In the spirit of Halloween, I decided to replace the DVD screen captures with higher quality screen captures! Unfortunately they aren’t as clear as I’d like them to, but they are nonetheless higher quality than the previous versions. So you can now check out 1,195 blu-ray screen captures of Sarah Jessica from “Hocus Pocus” in the photo gallery! I hope you guys enjoy and have a wonderful Halloween!

P.S. I am in the process of updating the thumbnails in the photo gallery and making them a tad bigger. So they’ll be a little fuzzy until I can get them all updated.

“The Hollywood Reporter” — I don’t remember exactly the first time I met Mr. de la Renta. But I do remember the first dress I borrowed from him: from spring 2000, it was look 67. I had been asked to do an event for Sex and the City — something for HBO and [then CEO] Mr. Bewkes. I remember seeing this dress in the collection and went through Pat Field, the costume designer on the show, to see if she could help me borrow it. And I remember the first time I was invited to Mr. de la Renta’s office and asked if he might build a dress for me for the 2000 Emmys. It turned out to be a pink dress with a feathered skirt that people had a lot of opinions about — mostly because I tied a big piece of tulle on my arm.

I can’t remember how I had the courage to be friends with him — he was so otherworldly in a way. I don’t know if he ever really watched Sex and the City, but I’m certain he was aware of the show because he made a dress for a scene later. Misha’s [Mikhail Baryshnikov] character gave Carrie an Oscar de la Renta dress as a gift; it was a huge deal for Carrie to wear an Oscar de la Renta dress. That was a wonderful confluence of events because Misha and Mr. de la Renta had spent lots of time together in the Dominican Republic and had houses near each other. We all were friends.

I wore countless beautiful dresses of his, dozens of them, fresh off the runway. It was always a momentous occasion in my life when he would build a dress for me — for the Emmys, the Met Ball, for my 40th birthday at the Plaza. When Fashion’s Night Out started happening in 2009, I spent all those nights with Mr. de la Renta in his store on Madison, and it was a real honor. The first year I got there, he said, “Let’s sing!” He loved singing, sang beautifully. He was a muscular singer; it was one of the things he most enjoyed. He sang with mariachi bands, he delighted in any opportunity to create a festive environment. We did show tunes one year, mariachi another year — he even serenaded me. On every Fashion’s Night Out, I had to be at Mr. de la Renta’s store when he was there — it was planned around his arrival and his exit.

With the amazing Met Ball gown this year, I was involved in every step. Initially, when Anna Wintour asked if I might co-chair the evening — which would honor the work of the late couturier Charles James — with Anna and Mr. de la Renta also as co-chairs, I immediately thought that I wanted to ask him to make me a dress. I always have a little hesitation about asking somebody that. It’s a huge amount of effort, time, talent and money, so I put off asking for a while. But I was sitting with Anna one day and she said, “Ask Oscar, of course ask him!” So I rang him that day and said, “Would you consider building something for me for the Met Ball?”

I had been thinking of ideas and researching all of Charles James. I pulled a huge amount of James images and put pieces together from different dresses. Then I met with Mr. de la Renta’s design team; I worked first with Rafael, his incredible tailor, whom I’ve known for years. They presented ideas to him, he rang me, we talked more, then I came to the office and we started draping. I told the team about colors I wanted to work with and said, “What I would really love to do is have his well-known signature in embroidery on the back of the dress in scarlet.” They love him so much there, they got really, really excited about that. I was nervous to ask him — I expected that he might be modest and say no, no, no. But he thought about it and said yes the next day.

We had three different sizes of the signature made; I picked the color I thought was right, and he and I agreed on the size. I promised him, if the concept was misunderstood, I wanted everyone to know this was my choice. It was something he never would have done — with his modesty, grace and elegance. But I knew the crimson signature would look magnificent on the red carpet. Then Mr. de la Renta added the black lattice work up the back of the gown — an homage to Charles James — and I said, “Oh my God, of course!” It was so Oscar de la Renta!

It was really, really fun and thrilling to wear that gown that night. The point of the signature, and doing it in scarlet instead of his traditional navy, was to honor him — to scream it from the rooftop without opening my mouth. This is a man who spent the last 50 years building dresses. He’s singular. And that night I wanted to say thank you and pay tribute to him and convey my gratitude for his work and for the personal relationship he allowed me to have with him.

When someone passes who’s led a wonderfully long life, you hear the news and immediately think of his beloved wife and friends and, in this case, all those who work in his studio. The reality of his absence means a momentous shift. There are wonderfully talented designers, emerging and upperclassmen, but he really was singular, and he has left a vacuum. Others will come along and will eventually make ball gowns with pockets in them — with stripes and polka dots, garden party gowns. But nobody is meant to fill the void. They can’t. All I can think today is, “That’s it. That’s done, that extraordinary moment in time that he created.” When I think about the last 10 or 15 years and the way he figured out how to marry his rock-hard foundation of the world of socialites and Nancy Reagans with a different generation — it’s wildly impressive.

The great news is, we all got so much out of knowing him. Thank goodness for all the time we did have. It’s nice not to have regret — “I wish I’d met him!” He gave so much, and I think everybody who had the chance to be on the receiving end appreciated him.

It also needs to be said that there was no one more handsome.

This story first appeared in the Oct. 31 issue of The Hollywood Reporter magazine.

“The Hollywood Reporter” — Principal photography starts Tuesday for the Sarah Jessica Parker romantic comedy All Roads Lead to Rome. Other cast members include Claudia Cardinale (8½, Once Upon a Time in the West), Rosie Day (The Seasoning House) and Roman actor Raoul Bova (The Tourist, Under the Tuscan Sun). Sweden’s Ella Lemhagen (The Crown Jewels) will direct.

Parker plays an uptight mother, Maggie, who goes on a road trip across Italy with a former lover, Luca, played by Bova, to track down her rebellious teenage daughter, played by Day. Meanwhile, Luca’s mother, played by Cardinale, is on her own secret love mission. The screenplay was written by Cindy Myers, Josh Appignanesi and Lemhagen. Filming will take place in Rome and around Italy for six weeks.

AMBI Pictures and Paradox studios are financing the film. Ambi’s Andrea Iervolino and Monika Bacardi will produce with Paradox’s Silvio Muraglia. AMBI Distribution will present the project to international buyers at the upcoming AFM market.

This week Sotheby’s sold a brooch made by “Sex And The City” actress Sarah Jessica Parker and Taiwanese designer Cindy Chao.

“Ballerina Butterfly” fetched $1.2 million – more than $300,000 higher than initial estimates – at the Sotheby’s Hong Kong Magnificent Jewels and Jadeite Sale. The brooch sale, whose proceeds benefitted the New York City Ballet, was the result of three years of friendship between them, and two years’ work on Chao’s part.

Chao painted the design on black paper, then modeled the butterfly in wax. The jewel was handcrafted in titanium and gold from the model by artisans in Geneva. Parker had given her the idea of the butterfly after a trip backstage at the Opera Garnier ballet in Paris. The rehearsal room there had butterflies carved on the pillars, which act as reminders that each ballerina should be so light.

The two friends met me at Sotheby’s a few days before the sale.

Elliott: The pin is actually quite a bit bigger than I had expected, from seeing the photos.Sarah Jessica Parker: You need to hold it. Because I would imagine you think it’s kind of heavy. But it kind of weighs two of these, maybe? [she takes a silver thimble ring and puts in my hand]. It weighs like, nothing. As loaded and complex and detailed the brooch is – it has 4,700 diamonds – it’s nothing.

But you have to turn it over and see the back, because the back you have to see [to understand] the story as much as you have to see the front. It’s like that great light reversible raincoat you had as a little girl.

Elliott: And the lightness is important because when you wear it, you don’t want it to pull your collar down.Parker: Yeah, yeah. It’s like, it sits, really.

Elliott: So tell me the process between the two of you for designing this.Parker: Well she can tell you the process for designing this, because you know the butterfly exists in her whole oeuvre. And her first one is in the Smithsonian.Chao: Well yes, but I also knew how much it meant to [Parker], so I just kept it in my mind. One day I went to the ballet, I went back stage, and they told me that in 19th century the ladies tried to be butterflies.Parker: Isn’t that crazy? That’s just so amazing, that the butterfly which is so significant to me would fit so well into this idea. It’s lovely.

Elliott: Why are so many people compelled by ballet, by the idea of lightness and beauty born out through dance? Parker: Well, it’s true transport. It’s that thing of being transported outside the reality of life. I mean wish more people loved ballet. I spend a lot of time trying to cultivate that audience. But I think when they do experience it, like Cindy said to me last night, she said now I know why you love ballet so much. She had watched the New York company perform.

It just transports me, that people can tell stories without saying a word.

Also that we can all recognize a story in our own way. And it’s like runway shows – something from Carolina Herrera is going to be a completely different story than, say, what we see at McQueen, right? I have my story and you have yours. And they do it with their bodies in the most extraordinary ways. It’s just incredible.

Elliott: Without a word.Chao: Last night was a beautiful evening.Parker: I think a lot of people there for the first time last night were really gob-smacked.

Elliott: Cindy, how has working with Sarah influenced your own artistry?Chao: She is so creative. In my own sense, I had to become her.Parker: I contributed very little. In sincerity. I’d be like, ‘oh I love those pearls!’ and she’s like aha! But really the collaboration is primarily her.Chao: Well, I would not have done this with any other.Parker: It has been a thrill. And a whole new world opened up for me.

"Escape from Planet Earth" (2013)Sarah Jessica as . . . Kira Supernova (Voice)
Astronaut Scorch Supernova finds himself caught in a trap when he responds to an SOS from a notoriously dangerous alien planet. Official Website / IMDB / Photos

"Mixtape" (Unknown)Sarah Jessica as . . . Unknown
When a young girl accidentally destroys the mixtape that belonged to her mom, she tries to track down the obscure songs on the cassette.
Official Website / IMDB / Photos

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